Special Feature: Independent Cinema
1. Richard Whitehall, "Interview with Bruce Baillie," Film Culture , No. 47, pp. 17-18. [BACK]
2. Bruce Baillie, Program for Castro Street . File: Museum of Modern Art. [BACK]
3. Bruce Baillie in P. Adams Sitney, Visionary Film (New York: Oxford University Press, 1974), p. 208. [BACK]
4. Bruce Baillie, Notebook entry, May 22, 1966. [BACK]
5. Sergei Eisenstein, Film Form (New York: Harcourt, Brace and World, 1949), p. 48. [BACK]
6. Bruce Baillie, MOMA Cineprobe Tape, April 7, 1970. [BACK]
7. Richard Corliss, "Bruce Baillie: An Interview," Film Comment , Vol. 7, No. 1 (Spring 1971), p. 25. [BACK]
8. Whitehall, op. cit ., p. 7. [BACK]
9. Bruce Baillie, MOMA Cineprobe Tape, April 7, 1970. [BACK]
10. Ibid . [BACK]
11. Corliss, op. cit ., p. 26. [BACK]
12. Bruce Baillie, MOMA Cineprobe Tape, April 7, 1970. [BACK]
13. Bruce Baillie, in Harbinger , Vol. 1, No. 1 (July 1967), p. 32. [BACK]
14. R. L. Gregory, Eye and Brain (New York: McGraw-Hill, 1973), p. 119. [BACK]
15. Corliss, op. cit ., p. 31. [BACK]
16. Rudolf Arnheim, Film As Art (Berkeley: University of California Press, 1957), pp. 131-32. [BACK]
17. Sitney, op. cit ., p. 208. [BACK]
18. Bruce Baillie in Harbinger , Vol. 1, No. 1 (July 1967), p. 34. [BACK]
19. Sitney, Museum of Modern Art Circular #66. [BACK]
20. Eisenstein, Film Sense (New York: Harcourt, Brace and World, 1947), p. 93. [BACK]
1. "Respond Dance," in P. Adams Sitney, ed., Film Culture Reader (New York: Praeger, 1970), pp. 239-40. [BACK]
2. Experimental Cinema (New York: Universe Books, 1971), p. 132. "Song V," a third childbirth film, cannot be divorced from the aesthetic context of the complete Songs and is therefore omitted from this discussion. [BACK]
3. "The Birth Film," in FCR , p. 231. [BACK]
4. "Interview with Stan Brakhage," FCR , pp. 208-10. [BACK]
5. See, for example, Sheldon Renan, An Introduction to the American Underground Film (New York: Dutton Paperbacks, 1967), p. 122; and Sitney, Visionary Film (New York: Oxford U.P., 1974), p. 191. [BACK]
6. "Interview with Stan Brakhage," pp. 202-03. [BACK]
7. Ibid ., pp. 208-09. [BACK]
8. Just so, Carol Emshwiller pointed out to me that the beauty of "The Act of Seeing with One's Own Eyes" ("Autopsy"), the third segment of The Pittsburgh Trilogy , derives from the pattened rituals of dissection opposed to the nearly intolerable vision of humans reduced to meat. [BACK]
9. Sitney, Visionary Film , p. 189. Subsequent references to this edition will be included in the text (as VF ). [BACK]
10. "The Birth Film," pp. 232-33. [BACK]
11. "Interview with Stan Brakhage," p. 225. [BACK]
12. Ibid ., p. 225. See also Film-Makers' Cooperative Catalogue No. 6 (New York: Harry Gantt, 1975), p. 27. [BACK]